24 Views of Mt. Fuji, by Hokusai [Illustrated] Read online

  24 Views of Mt. Fuji, by Hokusai [Illustrated]

  Roger Joseph Zelazny

  Hugo Best Novella winner (1986)

  Nebula Best Novella nominee (1986)

  Roger Zelazny

  24 Views of Mt. Fuji, by Hokusai [Illustrated]

  I recall mentioning in a letter to my friend Carl Yoke something concerning the appearance of the mountains behind my home and my having realized but recently that seeing them in a different aspect every season, every day—every time I look at them, actually—had a lot to do with the following story; and that my coming across the book of Hokusai’s prints which gets mentioned in the text of this tale was only the proximate cause of its composition. Without my mountains there would have been no meditations, no story, no Hugo (this one accepted by Shawna McCarthy, brought back to New Mexico and delivered by Parris—thanks, Shawna; thanks, Parris). I can’t cite all of the lesser, contributory kami here. Everything goes back to the mountains. And without Fuji's fire to complement the frost of my first story, I'd have had to look for a different title for this book. Thanks, Thermodynamics.

  1. Mt. Fuji from Owari

  Kit lives, though he is buried not far from here; and I am dead, though I watch the days-end light pinking cloudstreaks above the mountain in the distance, a tree in the foreground for suitable contrast. The old barrel-man is dust; his cask, too, I daresay. Kit said that he loved me and I said I loved him. We were both telling the truth. But love can mean many things. It can be an instrument of aggression or a function of disease.

  My name is Mari. I do not know whether my life will fit the forms I move to meet on this pilgrimage. Nor death. Not that tidiness becomes me. So begin anywhere. Either arcing of the circle, like that vanished barrel’s hoop, should lead to the same place. I have come to kill. I bear the hidden death, to cast against the secret life. Both are intolerable. I have weighed them. If I were an outsider I do not know which I would choose. But I am here, me, Mari, following the magic footsteps. Each moment is entire, though each requires its past. I do not understand causes, only sequences. And I am long weary of reality-reversal games. Things will have to grow clearer with each successive layer of my journey, and like the delicate play of light upon my magic mountain they must change. I must die a little and live a little each moment.

  I begin here because we lived near here. I visited the place earlier. It is, of course, changed. I recall his hand upon my arm, his sometime smiling face, his stacks of books, the cold, flat eye of his computer terminal, his hands again, positioned in meditation, his smile different then. Distant and near. His hands, upon me. The power of his programs, to crack codes, to build them. His hands. Deadly. Who would have thought he would surrender those rapid-striking weapons, delicate instruments, twisters of bodies? Or myself? Paths . . . Hands . . .

  I have come back. It is all. I do not know whether it is enough.

  The old barrel-maker within the hoop of his labor . . . Half-full, half-empty, half-active, half-passive . . . Shall I make a yin-yang of that famous print? Shall I let it stand for Kit and myself? Shall I view it as the great Zero? Or as infinity? Or is all of this too obvious? One of those observations best left unstated? I am not always subtle. Let it stand. Fuji stands within it. And is it not Fuji one must climb to give an accounting of one’s life before God or the gods?

  I have no intention of climbing Fuji and accounting for myself, to God or to anything else. Only the insecure and the uncertain require justification. I do what I must. If the deities have any questions they can come down from Fuji and ask me. Otherwise, this is the closest commerce between us. That which transcends should only be admired from afar.

  Indeed. I of all people should know this. I, who have tasted transcendence. I know, too, that death is the only god who comes when you call.

  Traditionally, the henro–the pilgrim—would dress all in white. I do not. White does not become me, and my pilgrimage is a private thing, a secret thing, for so long as I can keep it so. I wear a red blouse today and a light khaki jacket and slacks, tough leather hiking shoes; I have bound my hair; a pack on my back holds my belongings. I do carry a stick, however, partly for the purpose of support, which I require upon occasion; partly, too, as a weapon should the need arise. I am adept at its use in both these functions. A staff is also said to symbolize one’s faith in a pilgrimage. Faith is beyond me. I will settle for hope.

  In the pocket of my jacket is a small book containing reproductions of twenty-four of Hokusai’s forty-six prints of Mt. Fuji. It was a gift, long ago. Tradition also stands against a pilgrim’s traveling alone, for practical purposes of safety as well as for companionship. The spirit of Hokusai, then, is my companion, for surely it resides in the places I would visit if it resides anywhere. There is no other companion I would desire at the moment, and what is a Japanese drama without a ghost?

  Having viewed this scene and thought my thoughts and felt my feelings, I have begun. I have lived a little, I have died a little. My way will not be entirely on foot. But much of it will be. There are certain things I must avoid in this journey of greetings and farewells. Simplicity is my cloak of darkness, and perhaps the walking will be good for me.

  I must watch my health.

  2. Mt. Fuji from a Teahouse at Yoshida

  I study the print: A soft blueness to the dawn sky, Fuji to the left, seen through the teahouse window by two women; other bowed, drowsing figures like puppets on a shelf. . . .

  It is not this way here, now. They are gone, like the barrel-maker—the people, the teahouse, that dawn. Only the mountain and the print remain of the moment. But that is enough.

  I sit in the dining room of the hostel where I spent the night, my breakfast eaten, a pot of tea before me. There are other diners present, but none near me. I chose this table because of the window’s view, which approximates that of the print. Hokusai, my silent companion, may be smiling. The weather was sufficiently clement for me to have camped again last night, but I am deadly serious in my pilgrimage to vanished scenes in this life-death journey I have undertaken. It is partly a matter of seeking and partly a matter of waiting. It is quite possible that it may be cut short at any time. I hope not, but the patterns of life have seldom corresponded to my hopes—or, for that matter, to logic, desire, emptiness, or any patterns of my own against which I have measured them.

  All of this is not the proper attitude and occupation for a fresh day. I will drink my tea and regard the mountain. The sky chsanges even as I watch. . . .

  Changes . . . I must be careful on departing this place. There are precincts to be avoided, precautions to be taken. I have worked out all of my movements—from putting down the cup, rising, turning, recovering my gear, walking—until I am back in the country again. I must still make patterns, for the world is a number—line, everywhere dense. I am taking a small chance in being here.

  I am not so tired as I had thought I would be from all yesterday’s walking, and I take this as a good sign. I have tried to keep in decent shape, despite everything. A scroll hangs on the wall to my right depicting a tiger, and I want this, too, for a good omen. I was born in the Year of the Tiger, and the strength and silent movements of the big striped cat are what I most need. I drink to you, Shere Khan, cat who walks by himself. We must be hard at the right time, soft at the proper moment. Timing . . .

  We’d an almost telepathic bond to begin with, Kit and I. It drew us to each other, grew stronger in our years together. Empathy, proximity, meditation . . . Love? Then love can be a weapon. Spin its coin and it comes up yang.

  Burn bright, Shere Khan, in the jungle of the heart. This time we are the hunter. Tim
ing is all—and suki, the opening . . .

  I watch the changes of the sky until a uniform brightness is achieved, holds steady. I finish my tea. I rise and fetch my gear, don my backpack, take up my staff. I head for the short hall which leads to a side door.

  “Madam! Madam!”

  It is one of the place’s employees, a small man with a startled expression.

  “Yes?”

  He nods at my pack.

  “You are leaving us?”

  “I am.”

  “You have not checked out.”

  “I have left payment for my room in an envelope on the dresser. It says ‘cashier’ on it. I learned the proper amount last night.”

  “You must check out at the desk.”

  “I did not check in at the desk. I am not checking out at the desk. If you wish, I will accompany you back to the room, to show you where I left the payment.”

  “I am sorry, but it must be done with the cashier.”

  “I am sorry also, but I have left payment and I will not go to the desk.”

  “It is irregular. I will have to call the manager.”

  I sigh.

  “No,” I say. “I do not want that. I will go to the lobby and handle the checking out as I did the checking in.”

  I retrace my steps. I turn left toward the lobby.

  “Your money,” he says. “If you left it in the room you must get it and bring it.”

  I shake my head.

  “I left the key, also.”

  I enter the lobby. I go to the chair in the corner, the one farthest from the work area. I seat myself.

  The small man has followed me.

  “Would you tell them at the desk that I wish to check out?” I ask him.

  “Your room number. . . ?”

  “Seventeen.”

  He bows slightly and crosses to the counter. He speaks with a woman, who glances at me several times. I cannot hear their words. Finally, he takes a key from her and departs. The woman smiles at me.

  “He will bring the key and the money from your room,” she says. “Have you enjoyed your stay?”

  “Yes,” I answer. “If it is being taken care of, I will leave now.”

  I begin to rise.

  “Please wait,” she says, “until the paperwork is done and I have given you your receipt.”

  “I do not want the receipt.”

  “I am required to give it to you.”

  I sit back down. I hold my staff between my knees. I clasp it with both hands. If I try to leave now she will probably call the manager. I do not wish to attract even more attention to myself. I wait. I control my breathing. I empty my mind.

  After a time the man returns. He hands her the key and the envelope. She shuffles papers. She inserts a form into a machine. There is a brief stutter of keys. She withdraws the form and regards it. She counts the money in my envelope.

  “You have the exact amount, Mrs. Smith. Here is your receipt.”

  She peels the top sheet from the bill.

  There comes a peculiar feeling in the air, as if a lightning stroke had fallen here but a second ago. I rise quickly to my feet.

  “Tell me,” I say, “is this place a private business or part of a chain?”

  I am moving forward by then, for I know the answer before she says it. The feeling is intensified, localized.

  “We are a chain,” she replies, looking about uneasily.

  “With central bookkeeping?”

  “Yes.”

  Behind the special place where the senses come together to describe reality I see the form of a batlike epigon taking shape beside her. She already feels its presence but does not understand. My way is mo chih ch’u, as the Chinese say—immediate action, without thought or hesitation—as I reach the desk, place my staff upon it at the proper angle, lean forward as if to take my receipt and nudge the staff so that it slides and falls, passing over the countertop, its small metal tip coming to rest against the housing of the computer terminal. Immediately, the overhead lights go out. The epigon collapses and dissipates.

  “Power failure,” I observe, raising my staff and turning away. “Good day.”

  I hear her calling for a boy to check the circuit box.

  I make my way out of the lobby and visit a rest room, where I take a pill, just in case. Then I return to the short hall, traverse it, and depart the building. I had assumed it would happen sooner or later, so I was not unprepared. The microminiature circuitry within my staff was sufficient to the occasion, and while I would rather it had occurred later, perhaps it was good for me that it happened when it did. I feel more alive, more alert from this demonstration of danger. This feeling, this knowledge, will be of use to me.

  And it did not reach me. It accomplished nothing. The basic situation is unchanged. I am happy to have benefited at so small a price.

  Still, I wish to be away and into the countryside, where I am strong and the other is weak.

  I walk into the fresh day, a piece of my life upon the breakfast moment’s mountain.

  3. Mt. Fuji from Hodogaya

  I find a place of twisted pines along the Tokaido, and I halt to view Fuji through them. The travelers who pass in the first hour or so of my vigil do not look like Hokusai’s, but no matter. The horse, the sedan chair, the blue garments, the big hats—faded into the past, traveling forever on the print now. Merchant or nobleman, thief or servant—I choose to look upon them as pilgrims of one sort or another, if only into, through, and out of life. My morbidity, I hasten to add, is excusable, in that I have required additional medication. I am stable now, however, and do not know whether medication or meditation is responsible for my heightened perception of the subtleties of the light. Fuji seems almost to move within my gazing.

  Pilgrims . . . I am minded of the wanderings of Matsuo Basho, who said that all of us are travelers every minute of our lives. I recall also his reflections upon the lagoons of Matsushima and Kisagata—the former possessed of a cheerful beauty, the latter the beauty of a weeping countenance. I think upon the complexion and expressions of Fuji and I am baffled. Sorrow? Penance? Joy? Exaltation? They merge and shift. I lack the genius of Basho to capture them all in a single character. And even he . . . I do not know. Like speaks to like, but speech must cross a gulf. Fascination always includes some lack of understanding. It is enough for this moment, to view.

  Pilgrims . . . I think, too, of Chaucer as I regard the print. His travelers had a good time. They told each other dirty stories and romances and tales with morals attached. They ate and they drank and they kidded each other. Canterbury was their Fuji. They had a party along the way. The book ends before they arrive. Fitting.

  I am not a humorless bitch. It may be that Fuji is really laughing at me. If so, I would like very much to join in. I really do not enjoy moods such as this, and a bit of meditation interruptus would be welcome if only the proper object would present itself. Life’s soberer mysteries cannot be working at top-speed all the time. If they can take a break, I want one, too. Tomorrow, perhaps . . .

  Damn! My presence must at least be suspected, or the epigon would not have come. Still, I have been very careful. A suspicion is not a certainty, and I am sure that my action was sufficiently prompt to preclude confirmation. My present location is beyond reach as well as knowledge. I have retreated into Hokusai’s art.

  I could have lived out the rest of my days upon Oregon’s quiet coast. The place was not without its satisfactions. But I believe it was Rilke who said that life is a game we must begin playing before we have learned the rules. Do we ever? Are there really rules?

  Perhaps I read too many poets.

  But something that seems a rule to me requires I make this effort. Justice, duty, vengeance, defense—must I weigh each of these and assign it a percentage of that which moves me? I am here because I am here, because I am following rules—whatever they may be. My understanding is limited to sequences.

  His is not. He could always make the intuitive leap. Kit w
as a scholar, a scientist, a poet. Such riches. I am smaller in all ways.

  Kokuzo, guardian of those born in the Year of the Tiger, break this mood. I do not want it. It is not me. Let it be an irritation of old lesions, even a renewal of the demyelination. But do not let it be me. And end it soon. I am sick in my heart and my reasons are good ones. Give me the strength to detach myself from them, Catcher in the Bamboo, lord of those who wear the stripes. Take away the bleakness, gather me together, inform me with strength. Balance me.

  I watch the play of light. From somewhere I hear the singing of children. After a time a gentle rain begins to fall. I don my poncho and continue to watch. I am very weary, but I want to see Fuji emerge from the fog which has risen. I sip water and a bit of brandy. Only the barest outline remains. Fuji is become a ghost mountain within a Taoist painting. I wait until the sky begins to darken. I know that the mountain will not come to me again this day, and I must find a dry place to sleep. These must be my lessons from Hodogaya: Tend to the present. Do not try to polish ideals. Have sense enough to get in out of the rain.

  I stumble off through a small wood. A shed, a barn, a garage. . . . Anything that stands between me and the sky will do.

  After a time I find such a place. No god addresses my dreaming.

  4. Mt. Fuji from the Tamagawa

  I compare the print with the reality. Not bad this time. The horse and the man are absent from the shore, but there is a small boat out on the water. Not the same sort of boat, to be sure, and I cannot tell whether it bears firewood, but it will suffice. I would be surprised to find perfect congruence. The boat is moving away from me. The pink of the dawn sky is reflected upon the water’s farther reaches and from the snowstreaks on Fuji’s dark shoulder. The boatman in the print is poling his way outward. Charon? No, I am more cheerful today than I was at Hodogaya. Too small a vessel for the Narrenschiff, too slow for the Flying Dutchman. “La navicella.” Yes. “La navicella del mio ingegno”—“the little bark of my wit” on which Dante hoisted sail for that second realm, Purgatory. Fuji then . . . Perhaps so. The hells beneath, the heavens above, Fuji between—way station, stopover, terminal. A decent metaphor for a pilgrim who could use a purge. Appropriate. For it contains the fire and the earth as well as the air, as I gaze across the water. Transition, change. I am passing.